Figure of the Day: Fanny Kemble, 1840

Fanny Kemble
Staffordshire, 1840
The Victoria & Albert Museum

As I’ve mentioned before, the earliest Staffordshire earthenware flatbacks depicted Queen Victoria. The popularity of these Royal portraits gave rise to portraits of notable public figures, often celebrated entertainers and actors.

This Staffordshire flatback depicts the actress Fanny Kemble and is based on an 1829 engraving by Richard J. Lane, after a drawing by Sir Thomas Lawrence. Frances “Fanny” Anne Kemble (1809-1893) was the daughter of the famed actors Maria and Charles Kemble and one of the long acting dynasty which had dominated the British stage since the late Eighteenth Century. 

Fanny made her debut on stage at the age of nineteen as “Juliet” at the Covent Garden Theatre. She found fame both in England and in the U.S. where she was married to a Philadelphia businessman.

Figure of the Day: Joseph Grimaldi (Joey the Clown), 1840

Staffordshire Flatback, 1840
Joseph Grimaldi (Joey the Clown)
The Victoria & Albert Museum

1837 saw a new trend in production for the porcelain makers of Staffordshire when they introduced lead-glazed earthenware flat-back figures of Queen Victoria. These figures were painted in enamels on the front while the back, (which was, you can guess, flat) was left white. In tended to be displayed on a mantelpiece, sideboard or any location where the reverse of the piece was against a wall, these figures quickly became popular.

Flatbacks were soon produced depicting a variety of subject from Royalty and historic figures to actors and celebrities. The modelers often referred to popular prints of the day in order to find subjects and depict them somewhat accurately.

This one is modeled after a print of the famed Regency Panto clown Joseph Grimaldi (Joey the Clown, 1779-1837) who found much success with “Mother Goose” in 1806 at Covent Garden. Grimaldi was revered as a comic singer, a daring acrobat and as a performer who could make dozens of unexpected costume changes during his routine. He was so renowned that, to this day, the name “Joey” is often used as a nickname for a clown. This Staffordshire figure is dated to about 1840, but, sadly, we have no way of knowing the name of the modeler.

Figure of the Day: Gaffeir, the Pasha of Abydos, 1850

Mr. Barton as Gaffeir, the Pasha of Abydos
Staffordshire, 1847-50
The Victoria & Albert Museum

Earthenware flatbacks and figurines for mantelpiece decoration first came to be produced in Staffordshire in the late 1830s with the earliest models depicting Queen Victoria and Prince Albert. As these figures rose in fashion, other subjects were depicted ranging from the political to the theatrical.

This figure from Staffordshire represents the actor, “Mr. Barton” who played the moustachioed “Gaffeir, the Pasha of Abydos,” in “The Bride of Abydos” at Astley's Circus in 1847. Based on Byron’s 1813 poem, the play was adapted for the stage William Dimond and it was first performed at Drury Lane Theatre in 1818.

Figure of the Day: Fanny Kemble, 1840

Fanny Kemble
Staffordshire, 1840
The Victoria & Albert Museum

As I’ve mentioned before, the earliest Staffordshire earthenware flatbacks depicted Queen Victoria. The popularity of these Royal portraits gave rise to portraits of notable public figures, often celebrated entertainers and actors.

This Staffordshire flatback depicts the actress Fanny Kemble and is based on an 1829 engraving by Richard J. Lane, after a drawing by Sir Thomas Lawrence. Frances “Fanny” Anne Kemble (1809-1893) was the daughter of the famed actors Maria and Charles Kemble and one of the long acting dynasty which had dominated the British stage since the late Eighteenth Century. 

Fanny made her debut on stage at the age of nineteen as “Juliet” at the Covent Garden Theatre. She found fame both in England and in the U.S. where she was married to a Philadelphia businessman.

Figure of the Day: George Rignold as Henry V, 1879

George Rignold as Henry V
Staffordshire, 1879
The Victoria & Albert Museum

When the first earthenware flatbacks were produced in the 1830s, the factory saw much success with figures of Queen Victoria and Prince Albert, so, it only stood to reason that representations of other notable figures would be an excellent source of revenue.

Among the most popular subjects were figures of actors and actresses in costume from celebrated productions. This one, for example, depicts the English actor George Rignold (1838-1912) as Henry V—his handsome costume picked out in enamels and gilding. 

Rignold played the role in America and Australia before coming to London and sub-leasing Drury Lane Theatre. For the first months of 1879, the theater had sat unoccupied, but Rignold’s epic production brought droves to the place. The spectacular production, adapted by George Calvert, boasted an enormous cast, horses, magnificent costumes and monumental scenery. The prdouction was described by one contemporary critic as “little more than a series of pictorial tableaux,” but, still, audiences were delighted and the show ran for two months before the start of the pantomime season.

Figure of the Day: Joseph Grimaldi (Joey the Clown), 1840

Staffordshire Flatback, 1840
Joseph Grimaldi (Joey the Clown)
The Victoria & Albert Museum

1837 saw a new trend in production for the porcelain makers of Staffordshire when they introduced lead-glazed earthenware flat-back figures of Queen Victoria. These figures were painted in enamels on the front while the back, (which was, you can guess, flat) was left white. In tended to be displayed on a mantelpiece, sideboard or any location where the reverse of the piece was against a wall, these figures quickly became popular.

Flatbacks were soon produced depicting a variety of subject from Royalty and historic figures to actors and celebrities. The modelers often referred to popular prints of the day in order to find subjects and depict them somewhat accurately.

This one is modeled after a print of the famed Regency Panto clown Joseph Grimaldi (Joey the Clown, 1779-1837) who found much success with “Mother Goose” in 1806 at Covent Garden. Grimaldi was revered as a comic singer, a daring acrobat and as a performer who could make dozens of unexpected costume changes during his routine. He was so renowned that, to this day, the name “Joey” is often used as a nickname for a clown. This Staffordshire figure is dated to about 1840, but, sadly, we have no way of knowing the name of the modeler.

Figure of the Day: Polito's Royal Menagerie, 1830

Polito's Royal Menagerie
Staffordshire, 1830
The Victoria & Albert Museum

Made in Staffordshire circa 1830, this celebrated, exceptional mantelpiece ornament is considered the most elaborate of the early Nineteenth Century figural groups by the Staffordshire factory. This was the last hurrah of the figural groups before the concern focused on the less expensive flatbacks for which Staffordshire is now famous. The earthenware piece is made-up of castings from two separate moulds which have been assembled by a “repairer” before firing and adorned with painted and sponged enamels. The cost of producing such a piece prohibited further manufacture on a broad scale.

The group depicts the entrance of one of the famous travelling menageries of Stephen Polito, the self-styled “modern Noah.” The traveling show was called “Polito's Royal Menagerie of the Wonderful Birds and Beasts from Most Parts of the World.” 

Figure of the Day: Gaffeir, the Pasha of Abydos, 1850

Mr. Barton as Gaffeir, the Pasha of Abydos
Staffordshire, 1847-50
The Victoria & Albert Museum

Earthenware flatbacks and figurines for mantelpiece decoration first came to be produced in Staffordshire in the late 1830s with the earliest models depicting Queen Victoria and Prince Albert. As these figures rose in fashion, other subjects were depicted ranging from the political to the theatrical.

This figure from Staffordshire represents the actor, “Mr. Barton” who played the moustachioed “Gaffeir, the Pasha of Abydos,” in “The Bride of Abydos” at Astley's Circus in 1847. Based on Byron’s 1813 poem, the play was adapted for the stage William Dimond and it was first performed at Drury Lane Theatre in 1818.

Sculpture of the Day: Esmeralda, 1856

Earthenware Flatback
Esmeralda, 1856
Staffordshire, England
The Victoria & Albert Museum

Made in 1856, this earthenware flatback from Staffordshire represents the character “Esmeralda” with her pet goat, from Victor Hugo's “The Hunchback of Notre Dame.”

Hugo's famed novel was first published in 1831.  Five years later, it was adaptedinto an opera in Paris by Louise Bertin, and, later into a ballet by Antonio Monticium for La Scala, Milan in 1839. In March 1844 another version of the story was performed at Her Majesty’s Theatre, London, choreographed by Jules Perrot to music by Cesare Pugni.

Following the success of the ballet, a music sheet illustrated by John Brandard was produced with a selection of its music arranged as “The Esmeralda Waltzes.”  The illustration on that cover was the inspiration for this figure which probably represents the dancer Carlotta Grisi as Esmeralda. 

Carla Grisi as Esmeralda